marcL

This is not only an Omnisphere "problem". Many virtual instrument developers tend to make their "babies" sound full and thick to sound convincing on their own (e.g. also many drums plugins). But in a mix you have to cut their frequencies extremely to avoid masking! This makes it very difficult for beginners to use factory presets, because they are not aware of this trouble.

But I would prefer Sound Forge Pro 99 for $15 ! ?

When there has been some evolution over the last decades this does not automatically mean that it goes on like this in the future. The best example of what I say are the future expectations of the 60s and 70s. Just look at the science fiction movies of that time, only a fraction of their ideas became true!

I did never comply! ? I liked Whiskey too much!

That's actually very simple to do with pitch bender, I can do it when simulating a guitar solo as well when playing a solo on a synth. Quite common trick . Yes, that is what I meant it is possible by recreating a real solo, but you will not do it the same way if you play the guitar solo on a keyboard, never!!!!

I don't think this is a good idea! I bungled the newer solos with Melodyne, because I was believing in their timing recognition (it sounds now more artificial like a VSTi). And the older solos in the band were never recorded or released.

In theory it is doable, but you will never have the feeling by doing it artificially. So in fact you would have to play it first and then redo it with the VSTi and this does not make any sense! Also if you play a real solo, sometimes you draw the pitch into the correct value, i.e. first you bend the string and then you let it go into the correct pitch. Things like that are nearly impossible to do with virtual instruments, you can just do it coping real playing, but you would never do it in "constructing" a solo! YMMV, but as far as my experience goes (listening to music and playing lead guitar myself) it is too complicate to "construct" a real guitar solo as well as to "construct" a real vocal performance. I agree that it is almost possible to achieve the sound of other instrument parts, but even there are some profs that will tell you something about the lack of feeling and details.

It sounds near a real guitar solo, but as I said above it clearly misses some of the feelings and variations a real player brings in! This is also a problem e.g. of Melodyne and other programs that try to quantize and improve pitch of more complicate instrument/vocal parts. They try to make some usual decisions that are not 100 percent standard when playing with feeling!

I agree that it sounds near a real solo, but still I am not convinced. A real solo guitar player varies much more with the timing, i.e. the appearance of the transients is definitely more driven by the feeling of the player. The sound reminds me somehow of Gary Moore. So just listen to one of his songs and you may hear the difference!

I have never heard a convincing guitar solo made with a VSTi ! It almost always sounds sterile and lifeless. On the other hand I use VSTi's for rhythm guitar at times, because I am too lazy to practice until the part is perfect! ?

Since version 5 I have the following problems: The now time in Melodyne is often not in sync with Cakewalk. Also when I set the now time in Melodyne it happens that it is located differently in Cakewalk. Opening a short Melodyne audio clip jumps sometimes in the timeline of Melodyne, so that I have to search/scroll to find the audio. Playing in the detection mode can be started with a double click as before, but I have to stop now with spacebar. This is very strange and confusing, because if I accidentally click the spacebar twice, then the audio playing in Cakewalk starts when I am actually working in the detection mode (playing audio only in Melodyne).

This was too late for me! ☹️ But also $16.15 was a good price! ?

If you put it into your cart there is an extra discount of $2.85. So you get it for only $16.15 ! I bought it yesterday without trial, because some time ago I purchased Cerberus Bass Amp and it blew my mind away! I didn't expect something like that for such a price! IMO one of the best bass amp simulations around, it comes near real gear. I hope Vermilion is of similar quality. I also like their autorisation with a key file, no hassle to install it on offline PCs and if a computer fails you do not have trouble to restore it (hardware ids and such ...).

No, CbB's "Normalize" adjusts only to a peak level as far as I know. Neither a compressor, nor a vocal riding plugin does exactly this! But they can be used to even out the loudness before you adjust it to an integrated LUFS value. I would also like such a feature! But for the moment I do it for vocal clips with the free "4U Meter, Fader" plugin from HOFA and CbB's gain adjustment: I split the vocal clip in shorter clips (vocal phrases) that have about the same level. I drag each clip onto "4U Meter, Fader" and it shows me the current integrated loudness in LUFS (and other values). Then I add the dB difference compared to my target level to the clip (menu "Process > Apply Effect > Gain...", for faster access I have defined an accelerator). E.g. when the clip has an integrated loudness of -15.7 LUFS and I want it to be -14 LUFS, then I add +1.7dB in the Gain dialog (by the way if it is a mono clip, then only the left gain value has to be changed in the dialog).

I love the sound, too. IMO it is one of the best guitar amplifer simulations and I have quite a few. Though I don't have Amplitude max, I just have some collections, but they are superb. On the other hand I think the installation process and the user interfaces of IK products are a bit quirky and annoying (e.g. it lists all the sounds that you are not authorized to and T-Racks does not allow just to install the components you have ...).

I agree to all what you say. Purchased, too!

Do you mean by using AudioSnap? There are some issues using AudioSnap independant of the algorithm used. You can even see the issues in the wave form if you zoom in. And yes, the Elastique algorithm (even Pro) isn't the best one (sometimes changes the wave in a very strange way), that's why I usually use one of the Radius algorithms for offline render (bouncing). After the bounce I check with Solo listening if there are issues and if there are, then I move the transients slightly or change the algorithm and try again. Most of the time this helps to fix the problem. In rare cases when the problem always reoccurs I do everything manually (cut the problematic area, move it to the correct position and bounce it with cross-fades).

I profited by a broad music background from school and classic guitar education. With my preferred styles I've stuck somehow in the 60s and 70s the most, but there is also a lot of influence from the 80s when we were playing intensively in our band. In that time I learned to estimate my fellow's play on the Jupiter 8 synth. For playing lead guitar Eric Clapton had the most, almost unique influence. Bands (more or less in order of importance): The Beatles T.Rex (Marc Bolan) The Kinks Little Richard Alice Cooper The Rolling Stones The Who CCR Queen Status Quo The Sweet Chuck Berry Sheryl Crow Lenny Kravitz Bonnie Tyler Eurythmics ...

This RAM may have benefits:

I am afraid that such an implementation ... Generates a lot of "useless" tempo events that knock the overall system. IMO it does not make sense to have tempo changes that are more granular than the smallest notes of the song! It may destroy the tempo transparency of the project. With the current implementation it is easily possible to copy and adjust an audio clip of one project to another project with different tempo changes. I did this today successfully with some vocal takes of the same song, but different recordings (projects). I made a copy of the takes in the original project, set transient markers at the note positions (precisely snapped to 1/16, not the notes, but the transient markers). Then I copied those takes into the 2nd project where I could simply stretch the transient markers to the correct positions according to the project tempo. Cool, like this I could absolutely preserve the vocalist's feel (what's not possible if you just copy the clips and then simply quantize them in the 2nd project). By the way like this you can also copy/move a vocal part in the same project with a lot of tempo variations without losing the vocalist's feel! No other DAW that I have ever tested or used has such a cool support for tempo/audio snap! Most DAWs make some automatic adjustments that work only for percussion and absolutely not for vocals or synth sounds ... And those automatic detections/adjustments kill all the feel and swing of the music!

I just wonder: Is there a way for OFFLINE install of CherryAudio synths? On their site it looks as if you have to login from the plugin for autorisation.

Exactly, it takes more time to remove the unwanted rubbish, than manually installing it from a zip file. I still hope that some day plugin providers will understand that supporting a simple zip file install would help many users a lot!

I had no problems at all! Yes, but I have no Wave V12! I think those who still trust in Waves should be punished a bit, that's fair! ?

I hate this !!! ? First, I liked the internet, but more and more it gets a pain in the axxx!

No, but your question is pathbreaking! I always thought that I have to click into the horizontal bar under the time line numbering to set the now time (because the cursor changed when I went up to high)! But now I understand that I can also click above into the time line! ? Fxxx, how stupid I am!